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#958 (5/31/24)
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BY TONY FOURNIER |
SYDNEY NATHAN — KING RECORDS
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Above: Photo of Sydney Nathan, owner and president of King Records.
CINCINNATI ENQUIRER, February 6, 1949:
JUKE–BOX OPERATOR'S $6 DEBT MAKES HILLBILLY HITS (PART TWO)
BY JACK RAMEYThe war came along. Syd had records the big record corporations didn't have, but he wanted to make his own. The fellow loves music. His body sways to it, his fingers and feet tap to it.
He reached agreements with small record makers. They "swindled" him, took his money but didn't deliver. Or when they did the records were "like a race track." Sloped. Only queer phonographs could keep the needle in the groove.
He reached an agreement with a New Jersey producer. Before he received the first platter, the producer raised the price seven cents a record. Nathan and his brother, sister, and brother-in-law decided to start their own corporation and manufacturing plant.
A friend, Larry Sick (don't let the name fool you, he's well) heard the family discussing the venture. Sick asked them if he could have part of it, was told yes. He walked out and came back with his share, $1,100 in hundred-dollar bills. Nathan told him he didn't want the money until he was ready to start. "I don't want a receipt. Keep the money, use it when you need it. Just declare me in," Sick replied.
That's why Sick now is one of the five stockholders in the closed corporation, King Records Inc., making more than 6,000,000 records a year and working a single shift of employees 45 hours a week.
SYD CALLED IN his friend, Howard Kessel, who now is president of Royal Plastic Corporation, one of the five subsidiaries. Kessel went out and bought old machinery, some of it from the Federal government.
They obtained a small site in an ice house at 1540 Brewster Avenue in Evanston, put in the cement work themselves, started on the machinery. Still bears the scars of wounds closed by surgical stitches. Because of four eye operations for cataracts, Syd was almost blind. They led him around. He still worked. Now he uses triple-lensed eyeglasses, but, with them, his vision is corrected.
They got a machinist in Dayton, Kentucky, to help at night. The machinist now runs their machine tool department—on a contract to be terminated only if the corporation is dissolved—and his two sons work in the departments.
They finally got a small unit going, worked it up to a production of 200 platters a day and tried to make it break even. They voted themselves $12.50 a week salaries the first year, but didn't draw a cent, left it all in the business.
The second year they upped it to $25 a week and started drawing it. Their employees, mostly Japanese because of the war, earned twice as much.
Last year they declared a dividend of $5 a share. And as for salaries, Syd says they're in the money now. Syd contends he never looks at accounting figures.
"So long as they don't have to tell me anything, I know everything is going fine and don't have to worry about it." That "y" in Sydney is because "my parents knew I was going to make money."
(TO BE CONTINUED IN THE "KING RECORDS - PART FOUR" ARTICLE)
CINCINNATI POST, October 18, 1949:
RECORD FIRM HEAD OPTIMISTIC ON FUTURE
The new slow-speed records [33-rpm & 45-rpm] probably won't be a major factor in the popular record field "for years and years," in the opinion of Sydney Nathan, president of King Records, Inc., 1540 Brewster avenue.Mr. Nathan gives his ideas in an "Executive Opinion" interview in the current issue of Business Week.
He points out that approximately 15 per cent of the phonographs in the country are of the wind-up variety. Mr. Nathan doesn't think having three record speeds has hurt the record business. He says if people buy enough slow-speed attachments, King may go to one of the slow speeds "perhaps in a small way."
CINCINNATI POST, December 17, 1950:
CINCINATTI CONCERNS SUED IN PHONOGRAPH DISPUTE
King Records, Inc., and the Royal Plastics Corp., both of 1540 Brewster Ave., Cincinnati, were among seven defendants named yesterday in a $280,000 damage suit filed in Common Pleas Court.Other defendants listed in a suit brought by Jules Braun, Linden, N. J., and his brother, David, Newark, N. J., were: The DeLuxe Record Co., Inc., Linden; Sydney Nathan, Cincinnati, President of King Records.... The suit charges that the defendants have drained assets of DeLuxe Record Co. and "deprived minority stockholders of their interest and assets and diverted to themselves the good will of DeLuxe."
A brief of this 11-page petition shows that the plaintiffs, holders of 49 per cent of the stock in the DeLuxe Company charge the defendants with using resources of DeLuxe to the benefit of the King and Royal Plastics companies. The King company acts as distributor for records pressed by Royal.
The suit.... charges in 11 counts that the defendants, as owners of 51 per cent holdings in the DeLuxe company, had drained the latter of resources by various means. It asks an injunction to restrain further operation by the defendants relative to the DeLuxe company, $230,000 straight damages and $50,000 punitive damages....
THE BILLBOARD, February 10, 1951: NATHAN–BRAUN TIFF IS OVER
NEW YORK—Sydney Nathan's hassle with Dave and Jules Braun over Deluxe Records was settled on an amicable basis this week when both parties discontinued lawsuits.... The terms of settlement were not disclosed.Deluxe which had been conducting limited operations since the litigation began, will be fully reactivated. The Brauns will handle repertoire activities; King will distribute.
NOTE: DeLuxe became a King Records subsidiary label circa February 1951. Its "6000 series" was used mostly for rock and roll music. The label featured mainly Otis Williams And His Charms, but also included The Crystals, The Five Jets, The Quails, The Blue Dots, The Drivers, Donnie Elbert And Group, The Guytones, The Chanters, and other vocal groups.
Above: Photo of the King Records' Manufacturing Area.
Above: Photo of the inside of the King Records' Packaging Department.
TINY BRADSHAW
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Above: Photo of Tiny Bradshaw, who was a bandleader, singer, composer, pianist, and drummer.
MISSISSIPPI ENTERPRISE (Jackson, Mississippi), October 12, 1946:
TINY BRADSHAW IS NATION'S JITTERBUG KING
The killer-diller music man, Tiny Bradshaw, king of the jitterbugs, who is booked to appear at New Colored Skating Rink Wednesday, Oct. 30, for pre-Halloween dance, with his swing band, leads a hectic life jumping from one rug-cutting emporium to another where he meets, greets, and entertains—in a music manner—the subjects of his vast empire. It's "Hail the King" when Bradshaw and his music makers show their faces.At 32 Tiny Bradshaw had done everything to swing music except eat it and is more widely known in swing circles more than any ork leader. When you hear them wail, "What a character!", you right away think of Tiny for there's a fellow who has a following (of hep-cat) that hangs on to his every shout; which reacts to his every grimace—which winks when he winks, grooves when he says so. Yes, Tiny's the King. And not just King for a day. Tiny Bradshaw is King of the Jitter-Jump 'n' Jive fanatics the year round.
Always the noisy chap, even back in his native Youngstown, Ohio, where while attending classes at Wilberforce University, his classmates used to shudder, even today, when they think of his outbursts in psychology classes. And although that was Tiny's major subject even then Tiny could not be confined to the task of wondering about what was in the other fellow's mind. He had money on his and consequently when he got the chance to earning his living in a musical manner via the drums. It wasn't long before as a kid he 'beat out the skins' with Baron Lee's band.
Later his fans—he had them even in his teen age youth—urged Tiny "to stick it out", and his flair for pyrotechnics on the skins got to be so standard that he wound up in Luis Russell's Orchestra, moving on later to Horace Henderson's Band, and still a little bit later on it occurred to him that he could wave a baton and do a little hollering on his own.
Yes, Tiny always was a noisy kid. It wasn't his drumming so much that attracted attention (although he was pretty good as drummers go) it was his riffs, his rompin', and his loud outbursts of jive lingo that caught on with the fans that still today are strictly Bradshaw followers, and don't care a snap for any of the other highly over-rated swing exponents.
As a leader, Tiny has led his crew of musicians into practically every rug-cutting rendezvous in the country and everywhere he's found his dynamic personality attracting the jitterbugs like so many flies to that good ol' Nawth Carolin-ah molasses!
A hard worker, hoarse every night after a swing jam-session, Tiny in some mysterious manner regains "that freshness" of both voice and his physical self—that seemingly is a total wreck after "jumpin' and bouncin'" for hours and hours—and, he's ever ready for another session of frenzied yelping on the bandstand with his famed "Jersey Bounce" orchestra. And what a band it is!
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Above Left: Label image of King 4337-AA, released in January 1950. There is a recitation in this song á la Ink Spots. BMI.com lists 287 "Teardrops" song titles. This one was composed by Howard Biggs, Doris Davis, and Norman Ray Childs. The flip-side, "Gravy Train", was composed by Henry Bernard, who is actually our old friend, Henry Glover, "Mister Everything" at King Records.
An instrumental version of "Teardrops" by Joe Thomas, His Sax And His Orchestra had previously been released on King 4299-A in 1949. Find it further down this webpage in the "Joe Thomas" section.
Above Right: WEST POINT NEWS (West Point, Georgia), August 29, 1940.
At Direct Right: Tiny Bradshaw And His Band, circa 1950. The band is apparently celebrating a contract signing with King Records.
NOTE: At this point, Madeline Green was in-between Jimmy Mundy's and Earl Hines' orchestras. Madeline appeared on eight records (one side each) backed by The Boys/The Three Varieties (1941-1942) and one record backed by The Magichords (1950).
THE BILLBOARD, January 21, 1950:
....Orkster-vocalist Tiny Bradshaw was signed by King Records last week....LISTEN (Windows Media Player):
1. "Teardrops" - Tiny Bradshaw - King 4337-AA - 1950.
2. "Gravy Train" - Tiny Bradshaw - King 4337-A - 1950.BOTH SONGS played in sequence.
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Above Left: Label image of Manor 1082-A, released in August 1947. It had previously been released in 1944 on Regis 1010 A as "After You've Gone". Regis was affiliated with Manor Records, both companies owned and operated by Irving Berman. The title of the song is never mentioned in this version, the actual lyric sang is "After I'm Gone".
Above Right: Label image of King 4376-A, released in August 1950. There are seventy "After You've Gone" song titles listed at BMI.com, this one credited to Harry Creamer and J. Turner Layton.
At Direct Right: THE BILLBOARD, December 9, 1944.
THE BILLBOARD, February 19, 1944:
....Tiny Bradshaw and ork inked by Premier Records, Hollywood, for four sides. Outfit will cut "There's No Law Against Loving", "You've Got To Love If You Want To Be Loved", and "All for You", latter already waxed for Premier by King Cole Trio.... [and the fourth?]THE BILLBOARD, July 15, 1944:
....Tiny Bradshaw has cut four sides for the new Newark (N. J.) disk firm, Regis. They are "Bradshaw Bounce", "Salt Lake City Bounce", "After You've Gone", and "Straighten Up and Fly Right"....Cash Box Review (8/9/50):
TINY BRADSHAW — King 4376....Boodie Green/After You've Gone
Tiny Bradshaw looks to repeat his smash success of "Well Oh Well" with this one titled "Boodie Green" and "After You've Gone". Both sides feature the maestro on the vocals, turning in a wonderful performance all the way. It's the sort of wax that doesn't stay out of the machines—disk rates a top spot.The Billboard Review (8/12/50):
TINY BRADSHAW — King 4376
After You've Gone (78) Much intimate feeling in this slow and persuasive version of the oldie.(NOTE: Ratings had a range of 0-100 with 70-79 considered as "good".)
LISTEN (Windows Media Player):
1. "After You're Gone" - Tiny Bradshaw And His Orchestra - Manor 1082-A - 1944.
2. "After You've Gone" - Tiny Bradshaw - King 4337-A - 1949.BOTH SONGS played in sequence.
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Above Left: Label image of King 4447-AA, released in 1951. "Two Dry Bones..." uses the format of Louis Jordan's "Saturday Night Fish Fry", which had been a big hit record in 1949. Above Right: NEW YORK AGE, July 8, 1950.
Dynamic!... Yes!, New!... Not So Much!... See Next Blurb.
(NOTE: A Mabel Scott section is included further down this webpage.)THE BILLBOARD, November 2, 1940:
....Tiny Bradshaw signed to Gale Inc. Has engagement pact, taking his first stand under the banner at the Apollo Theater in Harlem the week of November 21....Cash Box Review (4/21/51):
TINY BRADSHAW — King 4447....Two Dry Bones On The Pantry Shelf/Brad's Blues
Tiny Bradshaw has two different types of numbers to offer on this platter. The first is a jumpy one with very cute lyrics, while the second is a low down, slow shouting blues number. Both are done with his usual skill and ops will want to get them in their machines fast.LISTEN (Windows Media Player):
1. "Two Dry Bones On The Pantry Shelf" - Tiny Bradshaw (With Vocal Backing) - King 4447-AA - 1951.
2. "Brad's Blues" - Tiny Bradshaw - King 4447-A - 1951.BOTH SONGS played in sequence.
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Above: Photo of Tiny Bradshaw (left) and Eddie J. Colston, circa 1950. Colston was a columnist for the Ohio State News, the Ohio Sentinal, and the Cleveland Call And Post. In the late 1950s, he owned and ran the Band Box Theatrical Agency in Columbus, Ohio.
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Above Left: Label image of King 4487-AA "cover record", released in 1951. "T-99" refers to Texas Highway #99. Above Right: Label image of RPM 325, released in 1951. Those who have read my Modern Records series of articles know that composer "Taub" is Jules Bihari, the president of Modern Records. RPM was a Modern Records subsidiary label. Thankfully, BMI has it right, giving Jimmy full credit and a star for an Award Winning Song.
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Above Left: CASH BOX, August 18, 1951. Above Right: Photo of Jimmy Nelson, his name is spelled incorrectly as "Jimmie" on the label. He was a blues singer, orchestra leader, and songwriter.
From 1951 through 1953, he had eight records released on the RPM label. His biggest hits were "T 99 Blues" and "Meet Me With Your Black Dress On", both on the RPM label.
At Direct Right: ARIZONA SUN (Phoenix, Arizona), May 2, 1952. (Jimmy Nelson)
Cash Box Review (9/1/51):
TINY BRADSHAW — King 4487....T-99/Long Time Baby
The top deck is a tune that has already created enough noise for ops to know how this number will fare. Tiny Bradshaw adds his rendition of this tune to the list and comes up with a good side. The second level is a slow but loud thing that is done in that low down blues style. Ops oughta peek in at this disk.LISTEN (Windows Media Player):
1. "T-99" - Tiny Bradshaw - King 4487-AA - 1951.
2. "Long Time Baby" - Tiny Bradshaw - King 4487-A - 1951.
3. ""T" 99 Blues" - Jimmie Nelson - RPM 325 - 1951.ALL THREE SONGS played in sequence.
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Above Left: Label image of King 4497-AA, released in 1951. The composers of this side are Myron C. Bradshaw and Howie Kay. Somehow, BMI.com also includes Sydney Nathan as a co-composer! Nathon uses a pseudonym, "Lois Mann", on the label. Also note on the label that "Lois" was one of King Records' BMI publishing companies. Nathan has 204 song titles listed at BMI.com. Who new that Nathan was a prolific composer? Not me! Still not me!
The flip-side, "Knockin' Blues", was composed by Ann Jones. A country & western version of "Knockin' Blues", done by Ann Jones And Her Western Sweethearts, was released on King records in 1951.
Above Right: Label image of King 4537-A, released in 1952. Vocal on this side is by Tiny Kennedy, featured vocalist with Tiny Bradshaw's orchestra. Bradshaw and King's "Do-It-All Man", Henry Glover, are the composers of the other side, "Mailman's Sack".
The Billboard Review (2/23/52):
TINY BRADSHAW ORK — King 4497
The Train Kept A-Rollin' (82) The singer comes thru with a great vocal on a rockin' novelty, with some solid chorus and ork backing. Tune builds all the way. Platter could catch a lot of change.
Knockin' Blues (76) A rhythmic blues item Is given a standout reading by Bradshaw, plus a strong performance by the ork.(NOTE: Ratings had a range of 0-100 with 70-79 considered as "good" and 80-89 as "excellent".)
Cash Box Review (2/23/52):
TINY BRADSHAW — King 4497....Knockin' Blues/The Train Kept A-Rollin'
A lush presentation of a low down jump tune is given the usual effective Tiny Bradshaw treatment. Tiny, against a backdrop of smooth orking and choral aid, brings this interesting number in a winner. Under portion is a fast moving, rhythmic item in which Tiny employs some vocal tricks in polishing off its catchy lyrics.Cash Box Review (4/26/52):
TINY BRADSHAW — King 4537....Mailman's Sack/Newspaper Boy Blues
Tiny Bradshaw belts out a fast moving shouty item with zest. Bradshaw’s dynamic vocal is supported in spirited fashion by the ork as they handle a driving arrangement solidly. Featured is a raucous and wild bit of saxing that does much for the waxing.Flip is a low down blues sung by Tiny Kennedy, and again on this side, the ork is strong as it delivers a rollicking instrumentation. Ops have two likely sides.
The Billboard Review (4/26/52):
TINY BRADSHAW — King 4537
Mailman's Sack (80) The ork steps out on this jump item while Tiny Bradshaw shouts out his plans. An exciting side.
Newspaper Boy Blues (75) Little Tiny Kennedy is persuasive on the vocal while Bradshaw's ork backs impressively.(NOTE: Ratings had a range of 0-100 with 70-79 considered as "good" and 80-89 as "excellent".)
LISTEN (Windows Media Player):
1. "The Train Kept A-Rollin'" - Tiny Bradshaw (With Vocal Group Backing) - King 4497-AA - 1951.
2. "Knockin' Blues" - Tiny Bradshaw (With Vocal Group Backing) - King 4497-A - 1952.
3. "Newspaper Boy Blues" - Tiny Bradshaw (Vocal By Little Tiny Kennedy) - King 4537-A - 1952.
4. "Mailman's Sack" - Tiny Bradshaw - King 4537-AA - 1952.ALL FOUR SONGS played in sequence.
Directly Above: ST. PAUL RECORDER, January 21, 1955.
NOTE: Tiny Bradshaw recorded for Decca, Regis, Manor, and Savoy before coming to King Records.
He joined King in 1949, staying with them until 1955.
Directly Above: RHYTHM & NEWS MAGAZINE, November 1955:
The "Tínys" (Bradshaw and Kennedy) sit one out as the reserve band takes the stand. Flick was snapped at the Savoy Ballroom, "the home of happy feet". (Clipping provided by Dan Kochakian.)
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EDDIE "CLEANHEAD" VINSON
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Above: Photo of Eddie 'Cleanhead' Vinson, from Houston, Texas, was a blues singer, saxophonist, and bandleader. He got the nickname, "Cleanhead", because of his bald dome.
He toured through the South and Midwest with the Chester Boone and Milton Larkin bands in the 1930s and Bill Broonzy in 1940. Eddie moved to New York City in 1942 and joined the Cootie Williams Orchestra, recording for the Varsity, Hit, Majestic, and Capitol labels. This resulted in their hit song, "Cherry Red" in 1944.
In the mid-1940s, he formed his own orchestra, recording many records for the newly formed Mercury label, including a version of "Cherry Red Blues" in 1945. He joined King Records in 1949 with over a dozen records through 1952.
At Left: Photo of Eddie Vinson, when performing with "Cootie Williams And His Orch.".
Directly Above: Label image of Majestic 7084, released in 1944.
The same record was also issued on Hit 7084 in 1944 as "Cherry Red Blues" (see at right).
Vinson's name is spelled incorrectly on the above label image."Cherry Red" was composed by Joe Turner and Pete Johnson.
They had the original release of the song on the Vocalion label in 1939.At Right: THE BILLBOARD, October 21, 1944.
LISTEN (Windows Media Player):
1. "Cherry Red" - Cootie Williams Orchestra (Vocal By Eddie Vinson) - Majestic 7084 - 1944.
2. "Cherry Red" - Pete Johnson And His Boogie Woogie Boys (Vocal By Joe Turner) - Vocalion 4997 - 1939.BOTH SONGS played in sequence.
Above: Label image of Vocalion 4997, released in 1939.
At Left: Photo Of Pete Johnson from August 1946.
At Right: Photo Of Joe Turner.
A CD, BLUES SERIES, VOLUME ONE - JOE TURNER, is available from this
website. All tracks recorded from the original 78-rpm records.
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Above Left: Label image of King 4497-AA, released in 1950. Eddie Vinson employs a squeak in his singing similar to what helped make Ruth Brown famous at the time. Did the "Cherry Red" line "...jump me in your big brass bed..." inspire "My Big Brass Bed Is Gone" as an answer song? The composers for this side are Lois Mann and Henry Glover. Mann is a pseudonym for Sydney Nathan, that prolific stealer of other composers' songs.
The flip-side, "Eddie's Bounce", is an instrumental.
Above Right: Label image of King 4537-A, released in 1950. Composer is Milton Larkin, whose orchestra Eddie Vinson was with in the 1930s. The flip-side song's composers are Henry Glover, Vi Ott, and Lois Mann (aka Sydney Nathan).
LISTEN (Windows Media Player):
1. "My Big Brass Bed Is Gone" - Eddie "Cleanhead" Vinson - King 4381-AA - 1950.
2. "Peas And Rice" - Eddie "Cleanhead" Vinson - King 4414-A - 1950.
3. "If You Don't Think I'm Sinking" - Eddie "Cleanhead" Vinson - King 4414-AA - 1950.ALL THREE SONGS played in sequence.
At Left: ROANOKE WORLD NEWS, January 18, 1951.
NOTE: At this time, Joe Thomas And His Orchestra was recording for King Records.
Joe Thomas is featured in the next artist section below.Above: Label image of 4426-A, released in 1951. Composer is Andrew A. Bell,
who has no other titles credited at BMI.com under that name.At Right: Another photo of Eddie Vinson, with a better look at his "clean head".
LISTEN (Windows Media Player):
1. "Big Mouth Gal" - Eddie "Cleanhead" Vinson - King 4426-A - 1951.
2. "I Trusted You Baby" - Eddie "Cleanhead" Vinson - King 4426-AA - 1951.BOTH SONGS played in sequence.
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Above Left: MINNESOTA STAR, December 29, 1950. Above Right: ST. LOUIS ARGUS, September 19, 1952.
JOE THOMAS AND HIS ORCHESTRA
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Above: Joe Thomas (saxophone), Eddie Wilcox (piano), and unknown (trombone), in New York City, circa October 1947.
Joe Thomas, from Pennsylvania, was a saxophonist, singer, songwriter, arranger, and bandleader. He was with Jimmie Lunceford's orchestra from 1933 to 1947, staying with that band as a co-leader (shared with Eddie Wilcox) for a year or so after Lunceford's July 1947 death.
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In January 1949, Joe assumed control of Oliver Hill's orchestra and, with them, joined King Records. Between 1949 and 1951, they released at least eleven records on the King label. Most of these were instrumentals featuring Joe's tenor sax, but a few also included his vocals, such as the side featured next.
Above Left: Photo of Joe Thomas dated 1942. Above Middle: Label image of King 4318-AA, released in 1949. BMI.com lists Joe Thomas, Sammy Lowe, and Robert B. Range as the composers of this song. BMI credits Joe Thomas with 247 work titles.
Above Right: Photo of Joe Thomas. Eddie Wilcox can be seen in the background.
Cash Box Review (4/26/52):
JOE THOMAS ORCH. — King 4318....Tearing Hair/My Baby Done Left Me
The Joe Thomas ork comes up with some fairly good wax in this coupling titled "Tearing Hair" and "My Baby Done Left Me". Topside is a straight instrumental number offered in up tempo patter. Driving sax runs wild on the side, with the band joining in.The flip is offered with all the gusto one can possibly expect, as the crew get together for the blue refrain of "My Baby Done Left Me". Both sides will boost ops' juke box take.
At Direct Right: Label image of 4299-A, released in 1949. Howard Biggs is the sole composer. With lyrics added for Tiny Bradshaw's later version, composers Doris Davis and Norman Ray Childs were included.
Cash Box Review (4/26/52):
JOE THOMAS ORCH. — King 4299....Page Boy Shuffle/Teardrops
Music ops in the market for some great instrumental wax are sure to find it in this coupling tagged "Page Boy Shuffle" and "Teardrops". Featuring the great Joe Thomas on sax on both sides of this disk, the platter takes on a bright glow for heavy juke box coin.Top deck is a mellow uptempo jump number, with the entire gang displaying some torrid tones that satisfy. The flip slows down immensely and is another excellent musical performance. "Page Boy Shuffle" should cop a ton of coin.
At Far Right: ROANOKE WORLD NEWS, August 3, 1951.
LISTEN (Windows Media Player):
1. "My Baby Done Left Me" - Joe Thomas His Sax And His Orchestra - King 4318-AA - 1949.
2. "Teardrops (Instrumental)" - Joe Thomas His Sax And His Orchestra - King 4299-A - 1949.BOTH SONGS played in sequence.
MABEL SCOTT
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Above: Mabel Scott, from Richmond, Virginia, was a singer, pianist, songwriter, and whirlwind entertainer. She recorded for Hub (1946), Exclusive (1948-1949), Swing Time (1950), King (1950), Coral (1951-1952), Brunswick (1953), Parrot (1953-1954), and Hollywood (1954).
On June 27, 1949 Mabel performed on a television show emceed by Garry Moore. With her were Ella Fitzgerald, Benny Carter's Orchestra, Dorothy Dandridge, The Ebonaires, The Trenier Twins, and others.
Mabel married star pianist and blues singer, Charles Brown, on January 16, 1949. They separated on April 15, 1949 and were divorced in 1950. Mabel and Charles were both recording for Exclusive Records at the time they married.
See the clipping At Right (LOS ANGELES TRIBUNE, August 12, 1950).
SANTA BARBARA NEWS (Santa Barbara, California), June 22, 1947:
Little Mabel Scott, called "The Bronze Bombshell Of Song", has jumped, cavorted, bounced, and sung her way from London to San Francisco and from Paris to New Orleans in the last few years.A couple of years ago she jumped off a piano during a show in Chicago and spent the next three weeks in the hospital....
Mabel, a native of Richmond, Virginia, starts off her show with a couple of quiet numbers like a slow fuse burning. Then she bursts into action.... in which she practically knocks down the stage.
When she appeared with Cab Calloway at the Cotton Club in New York, the two had a frantic contest for honors in kicking up a rumpus in front of the band.
The "Bombshell" has just cut two new records, "Give Me A Man" and "Do You Know The Game", soon to be released. (NOTE: These two songs are on one record, Hub 3029, released in 1946.)
She has been at El Cortijo in Montecito and goes next to the Toddle House in Los Angeles.
When Mabel gets up in front of a microphone, rest assured that she will give all she's got to please—which is plenty.
Click HERE for an article about MABEL SCOTT by Marv Goldberg.
(Will open in a separate window)
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Above Left: Label image of King 4386-AA, released in 1950. Both sides of this record were composed by Mabel Bernice Scott. Above Right: Label image of King 4410-A, released in 1950. ASCAP.com shows 85 titles by Ann Ronnell, including this one. The flip-side, "Disgusted", was written by Mabel Bernice Scott.
BIO on flip-side: "Mabel Scott made her first recordings for the now defunct 'Exclusive' label, and came up with such hits as 'Elevator Boogie' and 'Boogie Woogie Santa Claus'. Since then she has toured extensively not only in this country, but also through Europe."
(NOTE: Actually, Mabel's first recordings for a USA record company were made for the "Hub" label in 1946.)King Records released two instrumental versions of "Willow Weep For Me", these by Mary Lou Williams (1950) and the Bill Jennings Quintet (1955).
Cash Box Review (8/5/50):
MABEL SCOTT — King 4386....Fine, Fine Baby/Have You Ever Watched Love Die
"Fine, Fine Baby" is a rhythm ballad paced by well written chatter and a shouting vocal by Mabel Scott. For our money this chick waxes along with the best of 'em. The thrush's strong delivery sells her material. Turnover is a blues ballad that moves slowly around the plaintive patter. Ops should listen to Mabel Scott purring the upper shellac.The Billboard Review (8/12/50):
MABEL SCOTT — King 4386
Fine, Fine Baby (73) This fine thrush delivers a medium blues with beat and style. Material isn't particularly noteworthy but fly ork backing gives the disking added substance.
Have You Ever Watched Love Die (76) The chirp delivers an effective slow blues warble of one of her own ditties. Neat mood orking enhances.(NOTE: Ratings had a range of 0-100 with 70-79 considered as "good".)
Cash Box Review (10/28/50):
MABEL SCOTT — King 4410....Willow Weep For Me/Disgusted
Pair of sides which music ops can use to best advantage as filler items are these set up by chirp Mabel Scott. Both ends don't quite fill the bill, altho they might earn their keep in spots. Top deck is a well known standard, while the flip picks up to a rousing, mellow beat. Wax is there for the asking.The Billboard Review (11/4/50):
MABEL SCOTT — King 4410
Disgusted (74) Thrush loads this novelty blues with personality and humor. Gal has a way with a blues.
Willow Weep For Me (71) And here she shows versatility with a smooth, pash treatment of the mood standard.LISTEN (Windows Media Player):
1. "Fine, Fine Baby" - Mabel Scott - King 4386-AA - 1950.
2. "Have You Ever Watched Love Die" - Mabel Scott - King 4386-A - 1950.
3. "Willow Weep For Me" - Mabel Scott - King 4410-A - 1950.
4. "Disgusted" - Mabel Scott - King 4410-AA - 1950.ALL FOUR SONGS played in sequence.
MABEL SCOTT
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Above: Two photos of Mabel Scott,
EXTRA RECORDS — MABEL SCOTT
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Above: SANTA BARBARA NEWS (Santa Barbara, California), June 27, 1947.
NOTE: The photo here seems to illustrate the newspaper's review of her on-stage performance,
"....she bursts into action.... in which she practically knocks down the stage."
However, that is not a sling on her arm.
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Above Left: Label image of Hub 3029-A, released in 1946. This song was composed by Joe Greene and Otis J. René. Otis was the owner and president of Excelsior Records and an accomplished songwriter. In 1946, Joe Greene, who had been The Four Tones' manager, was president of Royal Record Company (aka Sepia Record Company), which released records under the label names Coronet, Gem, G. Clef, and C & G. ASCAP.com credits Greene with 111 song titles.
Above Middle: Very early photo of Mabel Scott.
Above Right: Label image of Exclusive 83x, released in 1949.
At Direct Right: CALIFORNIA EAGLE, January 31, 1952.
The Billboard Review (4/2/49):
MABEL SCOTT — Exclusive 83x
Give Me A Man (84) This is more like it—a groovy blues with strong impact lyrics, and Mabel gets off a heart-and-soul rendition that should make this a leading race platter in the coming weeks.
(NOTE: Ratings had a range of 0-100 with 80-89 considered as "very good".)LISTEN (Windows Media Player):
1. "Just Give Me A Man" - Mabel Scott - Hub 3029-A - 1946.
2. "Give Me A Man" - Mabel Scott - Exclusive 83x - 1949.BOTH SONGS played in sequence.
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Above Left: Label image of Exclusive 83x, released in March 1949. Brothers Otis and Leon René were prolific songwriters. Otis owned Excelsior Records, while Leon owned Exclusive Records. Above Middle: CASH BOX, November 18, 1950.
NOTE: See if you can find ten differences between the Swing Time logo on the clipping and the one on the label.Above Right: Label image of Swing Time 239A, released in 1950. The flip-side is "Boogie Woogie Santa Claus", composed by Mabel Bernice Scott.
At Direct Right: SACRAMENTO BEE, July 26, 1952.
NOTE: "Mo Mo" is short for club owners Moore-Moore. "Moo Moo" would not have been quite as appropriate.WORLD-HERALD (Omaha, Nebraska), July 21, 1949:
Mabel Scott, the famous Elevator Boogie girl, known from coast-to-coast for her best selling recordings, night club, and theater appearances, will lend her talent in the Rochester Hollywood Variety Revue, Saturday night.Mabel is noted for drawing encore after encore, but when she does her famous Elevator Boogie, the audience goes wild.... (NOTE: "Rochester" is Eddie Anderson from the Jack Benny Show.)
CASH BOX, November 4, 1950: SWING TIME BUYS EXCLUSIVE MASTERS
HOLLYWOOD, CALIFORNIA—Swing Time Records Inc., this city, this past week acquired an undisclosed amount of masters from the defunct Exclusive Record Company. Bulk of the purchase consisted of a great many sides recorded by Charles Brown, top name artist in the rhythm and blues field.In addition there were several sides etched by Mabel Scott. The Brown disks were originally billed as wax by the Johnny Moore's Three Blazer combo. Swing Time is reported to have paid $1500 for the rights to the masters.
The plattery has already released the first of the crop of sides, which is Charles Brown's "Merry Christmas Baby" and "Lost In The Night" along with Mabel Scott's "Boogie Woogie Santa Claus" backed by "That Ain't The Way to Love".
LISTEN (Windows Media Player):
"That Ain't The Way To Love" - Mabel Scott - Exclusive 83x - 1949.
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SARAH McLAWLER
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Above: Photo of Sarah McLawler, from Chicago, was a singer, pianist, organist, and band leader. She was with King Records in 1951-1952. This resulted in at least four records, some of these sides with vocal group backing and some with her self-contained vocal/instrumental group, The Syncoettes.
Sarah also had records with Premium (1950), Coral and Brunswick (some with Georgie Auld, 1953), and Vee-Jay (with Richie Otto, 1956-1958). On one of the Premium (a Chicago label) sides, she is backed by an unknown vocal group, probably The Syncoettes. Coral and Brunswick were subsidiaries of Columbia Records.
Click HERE for an article about Sarah McLawler And The Syncoettes by Marv Goldberg.
(Will open in a separate window)CASH BOX, December 1, 1951:
....Leonard Chess (Chess Records) advises he purchased the Premium masters. These include some of Memphis Slim, Tab Smith, Lynn Hope, Sarah McLawler, Robert Anderson, and others.... (NOTE: No evidence was found that any of Sarah's masters were released on Chess or Checker.)At Direct Right: ST. LOUIS ARGUS, October 21, 1949.
NOTE: As can be seen on the bass drum, they are "The Syncoettes", not "The Symphonettes". (L-R) Hetty Smith, Lula Roberts, Sarah McLawler, and Vi Wilson.PITTSBURGH COURIER, June 11, 1949:
SARAH McLAWLER FOUR SET FOR CLUB HARLEM
CHICAGO—Sarah McLawler and her all-star girl unit closed a successful three-month engagement at Zollie Flanagan's Blue Heaven Lounge last Sunday evening and have already been signed to do the musical chores at the Club Harlem with Larry Steele and his brilliant "Smart Affairs of '49" revue. starting June 16.Having racked up a new high for attendance at Blue Heaven, the McLawler combo, consisting of piano, drums, bass, and tenor sax, has constantly been the subject of numerous writeups in local papers.
Scintillating in the output of solid rhythmic wares, the combo has been "caught" by a number of recording company scouts and may end up on wax. According to Miss McLawler, Sharon Pease... is manipulating a deal with Capitol Records, while Ernie Learner is trying... to interest John Hammond of Mercury...
When the combo pops at Club Harlem, the entire unit will be doubling. Sarah, pianist, will take on the accordion; Betty [sic Hetty] Smith, drummer, on vibes; Lula Roberts, tenor sax and possibly Vi Wilson, bassist on piano or violin.
THE BILLBOARD, October 1951:
....Henry Glover of King Records announced the signing this week of two new artists to the label, Sarah McLawler and Al Sears....
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Above Left: Label image of King 4495-AA, released in 1951. Sarah McLawler And The Syncoettes and Sarah McLawler And Her All Girl Band were the same group, with the same members. ASCAP.com shows "Alicia Carolyn Evelyn" is the songwriter for "I Can't Stop Loving You". Somehow, this song is listed at BMI.com with "Evelyn Alicia" as composer. And the label shows it to be a BMI controlled song. Some Sydney Nathan shenanigans?
Our man, Henry Glover, is composer of the flip-side, "I Gotta Have You".
Above Right: Label image of King 4513-AA, released in 1952. The flip-side, "I Need You Now", was written by William Engvick and Miff Mole.
At Direct Right: DEMOCRAT AND CHRONICLE (Rochester, NY), July 13, 1952.
Cash Box Review (3/29/52):
SARAH McLAWLER — King 4513....I Need You Now/Love Sweet Love
Sarah McLawler gives a dramatic reading of a slow pleasurable item. Her clear, strong vocal is enhanced by an exciting orchestral arrangement that features a fancy bit of piano playing.The under level is a slow beat handled expertly by Sarah and the Syncoettes. The choral harmony of the group is expressive and highly professional. Together, the artists succeed in bringing in a likely disk.
LISTEN (Windows Media Player):
1. "I Can't Stop Loving You" - Sarah McLawler And The Syncoettes - King 4495-AA - 1951.
2. "I Gotta Have You" - Sarah McLawler - King 4495-A - 1951.
3. "Love Sweet Love" - Sarah McLawler And The Syncoettes - King 4513-AA - 1952.
4. "I Need You Now" - Sarah McLawler - King 4513-A - 1952.ALL FOUR SONGS played in sequence.
PHOTOS OF THE SYNCOETTES' MEMBERS:
SELECT:SARAH McLAWLER
(formerly with Lucky Millinder Orchestra. Chicago, Illinois)LULA ROBERTS
(formerly with Sweethearts Of Rhythm. Key West, Florida)HETTY SMITH
(formerly with Eddie Durham Orchestra. Detroit, Michigan)VI WILSON
(formerly with Los Angeles Symphony Orchestra. Los Angeles, California)
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Above Left: Label image of King 4549, released in 1952. Fred Weismantel is credited with writing 217 song titles (per ASCAP and BMI), but "Please Try To Love Me" is not listed. The flip-side, "Ready, Willin' And Able", was composed by Henry Glover and Lucky Millinder. Above Right: ST. LOUIS ARGUS, October 28, 1949.
NOTE: Isn't a group of four musicians too small to be considered an "orchestra"?LISTEN (Windows Media Player):
1. "Please Try To Love Me" - Sarah McLawler (With Vocal Group) - King 4549 - 1952.
2. "Ready, Willin' And Able" - Sarah McLawler (With Vocal Group) - King 4549 - 1952.BOTH SONGS played in sequence.
Above: Three photos of Sarah McLawler.
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Above: Label images for both sides of King 4561, released in 1952. "Romance In The Dark" was also done by Billie Holiday, Hadda Brooks, The Diamonds, The 4 Blackamoors, and Lil Green, among others. BIO Information from the "Dee Jay Special" flip-side:
Sarah McLawler made her first radio broadcasts while still in high school, when she was repeatedly chosen to represent her school in competitive broadcasts with other schools.At Direct Right: OHIO DAILY EXPRESS (Dayton, Ohio), May 13, 1950.
Cash Box Review (9-20-52):
SARAH McLAWLER — KING 4561
I'm Just Another One In Love With You (B+) Sarah McLawler waxes an excellent side as she chants a passionate vocal of a slow tempo lovely melody.
Romance In The Dark (B+) Here is another tender disking with the thrush projecting her personality in full force. This is a platter with hit potential.(NOTE: A rating of B+ was considered as "excellent".)
The Billboard Review (9/27/52):
SARAH McLAWLER — King 4561
Romance In The Dark (77) A good ballad is wonderfully teamed with Miss McLawler's chirping ability. Fine wax.
I'm Just Another One In Love With You (73) Miss McLawler sings like a livin' doll, but the song is a little too forced. It's still good wax.(NOTE: Ratings had a range of 0-100 with 70-79 considered as "good".)
LISTEN (Windows Media Player):
1. "Romance In The Dark" - Sarah McLawler - King 4561 - 1952.
2. "I'm Just Another One In Love With You" - Sarah McLawler - King 4561 - 1952.BOTH SONGS played in sequence.
CASH BOX, February 7, 1953:
A rash of talent inking and label swapping took place last week, some of them being: Brunswick, Coral jazz subsidiary, announced the signing of Gayle Brown, vocalist; Sarah McLawler, organist and chantress formerly with King; and the Five Bills, vocal group.The diskery has already issued the results of the first session with the new artists. One side, "Gone Are The Days", pairs Brown and McLawler. Brown dishes up the lyrics and McLawler handles the Hammond. This you must hear. Sarah’s organ treatment sends tingles up your spine....
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Above Left: MORNING NEWS (Wilmington, Delaware), November 27, 1954. Above Right: ATLANTIC CITY NEWS, June 26, 1954:
SARAH McLAWLER, who heads the star-studded entertainment program offered nightly at Grace's Little Belmont.
PERCY MAYFIELD
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Above And At Left: Photos of Percy Mayfield, who was a singer and composer. He grew up in Louisiana, started his singing career in Texas, and then moved to Los Angeles in the early 1940s. Percy had records released on Supreme (1949), Recorded In Hollywood (1950), Specialty (1950-1957), King (1951), and Chess (1955).
JACKSON ADVOCATE, September 16, 1950:
HOLLYWOOD—It's a long jump from Shakespeare to blues but Percy Mayfield took that leap and shows every indication of going higher. Having just been signed to an exclusive recording contract with Specialty Records, Mayfield is an up and coming blues singer with two hits to his credit — "Please Send Me Someone To Love," backed by "Strange Things Happening."Born in Shreveport in 1920, Percy wrote creative poetry while still in high school. One day, he drifted into a glee club rehearsal and, to his surprise, as well as the amazement of everyone else, he found he possessed a beautifully rich baritone voice.
He then laid aside the poet's pencil to concentrate on singing — which he did with a will. Before long, orchestra leaders were bidding for his services. More jobs came his way than he could adequately handle — but his first love, poetry, always stayed with him.
Today, Percy Mayfield ought to be a completely happy man. His distinctive singing style, as evidenced by his Specialty recordings, is winning him an ever growing circle of blues admirers. And, his poetic faculty is just as busy turning out song lyrics.
BLACK DISPATCH, February 10, 1951:
Seldom in the annals of the entertainment world does a triple talent attraction like Percy Mayfield come along. He's a gifted singer, writer and composer, has apt ability at the piano, and will appear at the Trianon Ballroom, Thursday, Feb. 8.Mayfield zoomed to overnight fame by virtue of his Specialty recording of "Please Send Me Someone to Love", yet he does not consider this tune his best.
He has written several others which he predicts will out-do "Please Send Me" if this be possible. Watch for his waxing of "Nightless Lover", "Love With a Memory", and "Life Is Suicide".
"Two Years of Torture" and "Half Awoke", two songs he composed, were first recorded by Supreme Records. Just imagine Mayfield sold the songs to Supreme strictly as a writer, but after their executive heard him sing them in an impromptu manner, they refused to purchase them unless he recorded them.
Later, when Supreme went out of business, another recording firm purchased the master of "Two Years of Torture". A lively selling campaign followed and the song has since proved a big hit in the sentimental field.
Not so long ago Mayfield signed a long term contract with Specialty Record Company as a singer, writer, and composer. The rest is history.... CALIFORNIA EAGLE, January 3, 1952: MAYFIELD WINS CASH BOX AWARD Cash Box magazine, bible of the juke box industry, has awarded Percy Mayfield runner-up honors as the most popular jazz and blues artist of 1951. An unknown less than three years ago, Mayfield is one of the nation's top young vocalists today.
He soared to overnight fame by virtue of his recording "Two Years Of Torture". "Please Send Me Someone To Love" proved another smash hit for the bronze balladeer.
Mayfield and his orchestra are presently filling one-nighter and club dates from Canada to Mexico. They recently returned from a boffo tour of the South and Midwest.
Not only does Percy warble but he writes all his own numbers as well. He's one of Specialty Records ace contract performers. Possessing a deep throated romantic voice, Mayfield charms the femme fans young and old. He likewise boasts a vast male following.
CASH BOX, September 9, 1950: SPECIALTY SIGNS MAYFIELD
HOLLYWOOD—Art Rupe, Prexy of Specialty Records, announced the inking of Percy Mayfield, the "blues with a beat" singer, to an exclusive contract. Since coming to California in 1941, Mayfield, who also wields a composer's pen, has sung with a number of bands. When Art Rupe heard him at a dine and dance emporium just outside of Los Angeles, he signed him up on the spot. Mayfield's initial numbers under the Specialty banner are "Please Send Me Someone To Love" backed by "Strange Things Happening."CASH BOX, December 10, 1949:
....Talked to Roy Brooks of Supreme in absence of A1 Patrick and learned that Jimmy Witherspoon's "How Long", Floyd Dixon, Eddie Williams and Brown Buddies on "You Need Me Now", and our friend Percy Mayfield with "Two Years Of Torture" and "Half Woke" (love those titles) are really stepping out in the sales department....Cash Box Review (7/2/50):
PERCY MAYFIELD & MONROE TUCKER ORCH.
Recorded In Hollywood 111....Half Awoke/Two Years Of Torture
Blues warbling of Percy Mayfield on the upper lid is the sort of stuff that'll make 'em wake up. Ditty makes you listen attentively, as Percy's mellow vocal style handles the infectious tune in first rate style. Flip side picks up to a jump tempo and has Percy displaying his versatile style to excellent advantage. Ops should grab this one, but pronto!
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At Right: CALIFORNIA EAGLE, November 1, 1951:
FAST MOVING UP as the coast's foremost musical aggregation is the Shades Of Rhythm, who are going into their tenth week at the Cotton Club. Personnel is made up of (L-R) Monroe Tucker, piano; Lattus N. McNeely, drums; Pete Collins, trombone; Herbert Tricke, tenor sax, Toni Anthony, vocalist; Bernard Carrere, bass fiddle; Eddie Cain, alto sax, and Sherman Williams, baritone sax.CASH BOX, July 29, 1950:
....One of the hottest things around Los Angeles, besides the weather, is Recorded in Hollywood's "Two Years of Torture" in the blues and rhythm dept. Latter tune is the master taken over by Dolphin's of Hollywood record shop from the Supreme label and, hypoed up by human dynamo John Dolphin, the Percy Mayfield platter has caught on strong in this area with indications of widespread interest nationally....CASH BOX, September 2, 1950:
....Here's a tip for torch bearing amateur song writers: Grind 'em out while you're really crying the blues.... That's what we hear straight from Percy Mayfield, the lad who wrote "Two Years Of Torture". Seems that's what he'd just been through, and he really packs all that misery and woe into his fine biscuit on the Recorded In Hollywood label....CASH BOX, December 30, 1950:
....Lou Chudd, of Imperial Records, figures he's got a year of joy in "Ten Days of Agony", with Duke Henderson vocal and Monroe Tucker ork (of "Two Years of Torture" fame)....
(NOTE: Of course, it's just a coincidence that the song titles are so similar.)
Above: Label image for King 4480-AA, released in 1951. This record, both sides composed by Percy Mayfield, was originally issued on Supreme 1543-A/B in 1949. The masters were obtained by John Dolphin and released on Recorded in Hollywood 111A/B in 1950. When Percy Mayfield signed with King Records, the masters somehow came with him and became his first release on the King label.
Above: Label image for Aladdin 3059B, released in 1950.
Amos Milburn, a singer, pianist, and composer from Houston, Texas, was a fixture at Aladdin Records and a consistent record seller for them. He joined Aladdin in 1946, resulting in more than fifty records over the next eleven years. In 1960, Amos went to King Records resulting in several singles for them.
LISTEN (Windows Media Player):
1. "Two Years Of Torture" - Percy Mayfield - King 4480-AA - 1951.
2. "Half Awoke" - Percy Mayfield - King 4480-A - 1951.
3. "Two Years Of Torture" - Amos Milburn - Aladdin 3059B - 1950.ALL THREE SONGS played in sequence.
AMOS MILBURN
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Above Left: ARIZONA SUN (Phoenix, Arizona), December 7, 1951. Above Right: NEW YORK AGE, March 10, 1951:
NOTE: Whoever put this clipping together had a good imagination. Could not find any other place that mentions "Sepia Sinatra" or "Sentimental Balladeer of The Year" for that matter.
EXTRA RECORDS — PERCY MAYFIELD
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Above Left: Label image for Supreme 1549, released in 1949. Label shows "Orty Bravo" as composer. That name is not listed at either ASCAP.com or BMI.com, but both websites credit "Percy Mayfield" as the sole composer. Percy Mayfield also composed the flip-side song, "Leary Blues". This record was re-issued on Swing Time 262 in March 1951, with the "B" side renamed "How Wrong Can A Good Man Be?" (which are the actual words in the song, except for the last line).
Above Right: Label image for Specialty SP 390 A, released in 1950. Both sides were composed by Percy Mayfield, with "Lost Love" named a BMI Award Winning Song.
The Billboard Review (3/17/51):
PERCY MAYFIELD — Swing Time 262
How Wrong Can A Good Man Be? (75) Mayfield registers with a good medium beat blues job with a fair lyric.
Leary Blues (73) Another blues vocal with feeling, pointed up by effective combo work.(NOTE: Ratings had a range of 0-100 with 70-79 considered as "good".)
CASH BOX, May 14, 1955:
....Lots of news from out Chess way this week. Len [Leonard Chess] reports that they have signed Percy Mayfield to a union contract. Haven’t as yet decided which label they’ll record Mayfield on....
(NOTE: It was the Chess label.)LISTEN (Windows Media Player):
1. "How Wrong Can I Be" - Percy Mayfield - Supreme 1549 - 1949.
2. "Leary Blues" - Percy Mayfield - Supreme 1549 - 1949.
3. "Lost Love" - Percy Mayfield - Specialty SP 390 A - 1950.
3. "Life Is Suicide" - Percy Mayfield - Specialty SP 390 B - 1950.ALL FOUR SONGS played in sequence.
BLACK DISPATCH (Oklahoma City, Oklahoma), August 28, 1952:
FONTANA CRASH INJURES SEVEN, FIVE SERIOUSLY
FONTANA—An orchestra leader was reported still in critical condition Wednesday night from an early morning accident east of Fontana on Foothill Boulevard in which seven persons were injured, five of them seriously.Percy Mayfield, 32, of 223 W. Second St., Los Angeles, suffered a crushed skull when the car, in which he was riding with four other members of his band, crashed into a row of Eucalyptus trees near Locust Avenue. Mayfield is in critical condition.
All five occupants of the vehicle, driven by Shepard Means, 42, of 1350 E. 56th St., Los Angeles, suffered fractures after the westbound car bounced off the back of a second auto and crashed into the windbreak.
William Bloomer, investigating California Highway patrolman, reported the car driven by Means caromed off the rear of a slower westbound vehicle.
The members of the orchestra, who told nurses they were returning to Los Angeles from an engagement in Las Vegas, Nevada, were seriously injured when the car was crushed after skidding against about ten trees after crossing over two lanes of eastbound traffic....
PERCY MAYFIELD
SAN BERNARDINO COUNTY SUN (San Bernardino, California), September 19, 1952:
....Percy Mayfield, Los Angeles band leader, was slowly improving and was considered out of critical condition, attendants said....LOS ANGELES TRIBUNE, November 14, 1952:
....Fans and well–wishers of Percy Mayfield will be happy to know that he is recovering and scheduled to make his first personal appearance on Christmas Day in Oakland.... Percy barely escaped death when he was involved in an automobile accident in September, and was hospitalized for nearly two months....
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KING RECORDS - PART ONE FEATURES BULL MOOSE JACKSON, THE FOUR BLUE JACKETS, ANNISTEEN ALLEN, LUCKY MILLINDER, BILL JOHNSON AND HIS MUSICAL NOTES, THE JUBALAIRES, AND EARL BOSTIC AND HIS ORCHESTRA. ALSO INCLUDED IS A SECTION ON SYDNEY NATHAN, OWNER AND PRESIDENT OF KING RECORDS. AND SPOTLIGHTS ON THE SONGS "I KNOW WHO THREW THE WHISKEY IN THE WELL" AND "I'VE WAITED ALL MY LIFE FOR YOU".
KING RECORDS - PART TWO FEATURES LONNIE JOHNSON, LAVERN BAKER AND THE GLIDERS, THE STRIDERS, WYNONIE HARRIS, ROY BROWN, MABEL SMITH (BIG MAYBELLE), TINA DIXON, AND IVORY JOE HUNTER.
ALSO INCLUDED IS A SECTION ON KING RECORDS AND SYDNEY NATHAN, OWNER AND PRESIDENT OF KING RECORDS. AND SPOTLIGHTS ON THE SONGS "TOMORROW NIGHT", PLEASIN' YOU", AND "GOOD ROCKING TONIGHT".
1. "Teardrops" - Tiny Bradshaw - King 4337-AA - 1950.
ALL THIRTY-TWO ABOVE KING LABEL SONGS played in sequence.
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Last Update: May 31, 2024
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